How do children learn Chinese painting

Many training courses and schools offer Chinese painting courses, but they all have great problems in the teaching of Chinese painting. Due to the influence of history and culture and the long-term effect of traditional teaching mode, children's Chinese painting teaching is still based on the phenomenon of copying model paintings or teachers drawing a stroke for students to practice. After one class, the whole class has completed the same painting, and teachers and parents of students take whether the works are similar to the teacher's model paintings as the standard. Copies are all things created or chosen by teachers. Needless to say, nature is an adult and modular content. How can children accept it if they are forced to cross decades of age boundaries and adapt to the world in the eyes of adults? There are only two kinds of results. The good result is that a few children who are obsessed with art learn to "go in" and become "little adults", and let them enter a puzzling professional art circle prematurely and artificially, becoming victims of art education; The bad result is that most children think that art is too difficult to learn, so they simply insulate themselves from art. Their innate love for beauty, their innate artistic expression potential and the possibility of all-round development led by them have been stifled. Therefore, it is urgent to change the existing traditional teaching mode. Especially in the teaching of Chinese painting, deeply influenced by traditional culture, in my teaching of Chinese painting, I abandoned the traditional methods and tried to explore new teaching methods.

First, broaden the teaching content and promote divergent thinking.

For example, in the lesson Panda, first, let the students watch pictures of pandas or tell some stories about pandas, and then discuss how to use ink after the students understand the structure of pandas. Then let the students analyze the living habits of pandas, or tell cartoons related to pandas, and finally practice their own image and surrounding environment in progress, and complete a work, so that the students have a room for free play and creation.

Second, change the form to improve students' interest.

In traditional teaching, teachers mainly teach techniques and attach importance to the composition of pictures. Each student copies in the existing frame, and students can only become painters in the end. There is less contact between students, and there is a lack of opportunities for comparison and progress. In my classroom teaching, such as "Monkey", I ask students to watch the pictures of monkeys in real life, and then make corresponding requirements for using ink after analyzing the structural characteristics of monkeys. Through demonstration, students understand the painting method of monkeys, and then let students analyze how to complete an interesting work. Through practice, the whole class is finally required to complete a painting on a long scroll. At this time, students' autonomy is brought into play and the spirit of assistance among students is cultivated. Students can learn from each other by drawing together. The level of painting has been improved, and students' interest in painting is also getting higher and higher.

Third, cultivate innovative consciousness through multiple channels.

Tao Xingzhi, an educator, advanced: "Everyone in the world is a creative person, always a time to create, and everywhere is a place to create." Kang Deyan: "Man is a creature who creates culture with amazing ability-imagination." To cultivate innovative consciousness, the following conditions are needed first: ① Create a relaxed teaching atmosphere, so that students can fully carry out creative cognitive activities and produce the requirement of being willing to create. ② The democratic, intimate, equal and harmonious teacher-student relationship is the premise of creative teaching and cultivating children's creativity. ③ In the content arrangement of creative teaching, it is necessary to have accurate guiding theories that are conducive to association and full activities that are conducive to creative thinking.

1. I arrange this in the classroom teaching. For example, students or teachers and students discuss how to finish a painting, for example, the lesson "Rooster". After the rooster is shown, the background treatment allows students to express their opinions and discuss, and teachers respect students' choices, so that students can create colorful works.

2. Various methods of expression in Chinese painting are adopted, such as: ① Paper kneading method, in which the paper is kneaded into a ball before painting, and then gently unfolded to make the crumpled paper smooth before painting, or some of them can be crumpled, so as to draw a picture with a texture effect, such as drawing a trunk. (2) boneless method, color filling method, spot dyeing method, halo method, flat coating method, rubbing method, sprinkling method, rubbing method, additive method, etc., so that students can use various expression methods to describe things in their hearts, so that they can get a sense of success and improve their creative enthusiasm.

Fourth, there are many forms of content, and students are enthusiastic.

Traditional Chinese painting teaching content is nothing more than landscapes, figures, flowers and birds. The selection of Chinese painting teaching content in primary schools should conform to children's psychological characteristics and be close to their lives. Such as depicting "my parents", "window" and "campus", which are very familiar to them, so painting is very energetic, which also cultivates students' creative thinking. At the same time, students often consider how to use pen, ink and color when painting, which is very beneficial to improve students' comprehensive painting ability.

Fifth, the updating of tools and materials makes students feel novel.

Influenced by traditional Chinese painting, the materials for painting Chinese painting in students' minds are brush, ink and Chinese painting pigments. In my teaching, I allow students to paint with gouache pigment, and can paint with gouache, and you can also paint with oil pastels and other materials. In this way, students are diverse in the application of materials, and they are willing to use other materials to paint, and the effect is also very ideal and the interest is very high.

Lei Wen Felt, an art educator, said: "As long as children are given enough time, help and access to creative materials, and are not forced to accept adult models and norms, then every child can become an expert in artistic creation". I do this in the form of teaching.

(a) the introduction of games to stimulate interest.

Piaget thinks: "Interest is the regulator of energy, and its participation will mobilize the power stored in the heart." When the students just entered the classroom and the teacher was teaching, the students were very unfamiliar with ink painting. If we teach in the traditional mode and copy the teacher's model paintings mechanically, students will easily get bored, thus discussing painting and losing a good learning opportunity. This is how I teach. First, let the students listen to an interesting story, that is, "Sun Quan, the Emperor Wu, asked Cao Buxing to draw a screen, but Cao mistakenly put pen to paper, so he became a fly, and when he entered, he had the right to fly, so he raised his hand to play it." To arouse interest, and then put some ink on the paper demonstration point, so that students can think about what they can draw. (such as tadpoles, beetles, etc.) and then make a reasonable demonstration, and then let the students try. In this way, students' interest is aroused, and students are willing to paint in the form of ink painting. From students' homework, they can see their rich imagination and let them realize the superiority of ink painting.

(2) Training painting skills with "playing"

Playing is the nature of every child. They are active by nature and dare to paint. Teachers should seize this characteristic of them and use it skillfully so that they can master skills in the process of playing. For example, painting "vase flowers" is taught by breaking ink. First, different line drawings are drawn with thick ink (or color), and then light ink or water (color) is used to point in the middle of the painting. By using the tension of water and the characteristics of rice paper, the painting has a beautiful texture effect, and different artistic effects are produced due to the amount of water or the length of time. Students are very excited about this effect, and they are also courageous. In the process of playing, let students feel the effect of water on the picture. Another example is the use of writing games to let students exercise in the process of playing, the application of side, reverse and sudden front, and the mastery of color knowledge. That is to say, students can write words in ink on rice paper by the usual writing method, and they can write by disassembling, overlapping and splicing the words. When writing, they can also use various pen-carrying methods, and then fill in colors in different spaces. By training students, they have a certain understanding of various pen use, the relationship between colors and the relationship between density. In this way, students' initiative is very strong, and each student has his own room to play. This is also the requirement of art education in our primary and secondary schools. It is not the usual "normal distribution" education, but a perfect education that allows every educated student to get the development of "the nearest development zone" or "jump and eat apples".

(3) Introduction of stories to improve students' knowledge

Chinese painting has a long history, with many celebrities and anecdotes, which plays a great role in improving students' knowledge and appreciating the Excellence of Chinese painting art, such as "Wu Dai is in the wind, Cao Yi is out of the water" and "Wu Dao painted the Jialing River for more than 3 miles in one day. The stories of Li Sixun staying at home for several months, Huang Jiafugui, Xu Xiye's escape, Ma Yi Jiao, Xia Banbian, Badashan people's "no more ink and more tears, the old country in tears", "Crying, laughing" and Qi Baishi's "Tumbler" make students feel the profoundness of Chinese painting art, as well as the ingenuity of various expression methods and pen and ink. Deepen students' influence on painting and let them feel the fun of learning Chinese painting.

(4) Use examples to improve students' expressive power.

Geologist Li Siguang said, "Observation is an important step to acquire knowledge." Observation is particularly important for junior students, who often see little and are extremely unfamiliar with things. For example, in the lesson of painting "Tiger Head", the teacher clearly analyzes the various structures of tigers, and then allows students to feel and analyze the various expressions of tigers in different situations, and then allows students to create. At this time, the tigers displayed by students are different, and the angry tigers are red. It is also useful to use different colors. For example, when painting the hair around the tiger's head, some students use dry pens to paint, which reflects the texture of the pen, which shows that they are creating with their own feelings. Each student has his own understanding. They can use pen and ink to express their inner feelings. By comparing different examples, students can choose their own satisfactory works, thus imparting some knowledge such as composition and making it easier for students to accept the basic knowledge of painting.

(5) Try to diversify the content selection

The traditional teaching mode is to let students learn plum, orchid, bamboo, chrysanthemum and other flowers, landscapes, fish and insects, etc., and one class is mainly temporary learning, while students' subjective ideas are limited and they can only do mechanical exercises according to the requirements of teachers, which seriously damages their physical and mental health. I use diversified content for students to choose from in classroom teaching, which not only reflects that teaching is student-oriented, but also provides a broad world for students to play freely. For example, I let students look at dozens of different Peking Opera masks and other different forms of masks first, and then let students choose to paint freely, so that students' enthusiasm is high and the works they create are very novel. Draw a picture of "monkey" again, first explain the structure of the monkey, the teacher demonstrates it, emphasizing the method of using a pen, and then let the students imitate the movements of various monkeys, and then tell interesting things about the monkey, such as the mother-child relationship, etc. You can watch videos to let the students have a deeper understanding of the monkey, and then let the students create, so that the classroom atmosphere is active, students learn knowledge in a pleasant environment, and also show their own strengths, so that every student can watch it.

(VI) Going deep into life and expanding students' expression

American educator Ron Feeder has long pointed out: "In art education, art intermediary is a way to achieve a goal, not a goal. The goal of art education is to make people more creative in the creative process, regardless of where this creativity will be applied. If the child grows up and gets higher creativity from his aesthetic experience and applies it to life and career, then an important goal of art education has been completed. " In the teaching of children's ink painting, it is very important to expand the content of students' performance. The traditional teaching is nothing more than the integration of copying, sketching and creation. This is an effective teaching mode proved by the practice of painters in previous dynasties, and the content is also conventional flowers and birds, landscapes, etc. A considerable number of children's Chinese painting classes also implement the teaching mode of imitating the gourd, and some even take the famous works of their predecessors as the model painting. This phenomenon has caused many people of insight in the art world to worry. In my teaching, I let students go deep into life and show something in life, such as shoes, bicycles, vases, trees in the field and other still lives. I can also show a scene in life, such as a corner of the bedroom, my window, etc., and also show some things in life, such as a happy weekend, a cool party and so on.

In short, children's traditional Chinese painting has a strong childlike flavor and a strong color ink effect, which is more free to stretch with their tools, further improving the application and expression ability of painting language, strengthening children's contact and understanding of traditional Chinese cultural knowledge, and laying the necessary cognitive foundation for other forms of teaching. It will also be beneficial to broaden children's knowledge, enrich their imagination, develop their thinking in images and enhance their creativity.